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Après avoir atteint l'excellence en tant qu'intellectuel de parti stalinien pendant la Guerre froide, Roger Garaudy s'est construit comme intellectuel "véritable" contre la doxa du PCF qu'il était pourtant chargé d'incarner, à la faveur de son autonomisation suite au choc du XX° Congrès du PCUS périmant sa foi en Staline. C'est ainsi que la résurgence progressive de son habitus théologico-philosophique a fait de lui l'homme du dialogue par excellence adapté à la démarginalisation du PCF dans le champ intellectuel des années 1960. Mais si son engagement sur la tagente hérétique a fait de lui l'un des intellectuels communistes poussant le plus loin le projet de rénovation du PC en offrant une véritable stratégie alternative à celle du Parti après 1968, l'exclusion qui s'en est suivie s'est traduite par un retour du refoulé religieux qui, couplé à la posture prophétique d'un intellectuel désormais excentré dans le champ intellectuel français, a largement contribué à la délégitimation de l'ancien philosophe du PC avant même sa radicalisation ultime qui a achevé de le disqualifier suite à sa condamnation pour négationnisme. / After he reached excellence as a stalinist party intellectual during the Cold War, Roger Garaudy built himself as a real intellectual against the doxa that he was yet supposed to embody, following his emporwement after the shock of the 20th Congress of the CPSU which made his faith in Stalin obsolete. That is how the progressive resurgence of his theologico-philosophical habitus allowed him to become by excellence the "man of dialogue" within the French Communist Party, the most adjusted intellectual to the demarginalization of the FCP in the french intellectual field of the 1960s. But if his undertaking to the heretic tangent made him the communist theoretician who went the furthest on the way towards destalinization by offering a real alternative strategy to the Party's after 1968, his ensuing exclusion manifested thereafter as a backlash of the religiously repressed which, together with the prophetic posture of an intellectual henceforth unwarranted in the french intellectual field, largely explains the delegitimation of the former leading communist philosopher, even before his ultimate radicalization which completed his disqualification after he was condemned by french justice for negationism.

En 1957, Julio Cortázar rédigea une lettre à Roger Caillois encore inédite à ce jour. Il y fait l’analyse critique de L’incertitude qui vient des rêves, essai de Caillois publié en 1956. L’objet de cette thèse est de contextualiser la rédaction de cette lettre ainsi que la théorie onirique qui y est exposée par Cortázar. Adoptant une méthodologie génétique et intertextuelle, on propose une première analyse de ce document, qui peut être défini comme une « lettre-essai », afin de lui accorder la place qui doit être la sienne au sein de l’œuvre cortazarienne. On démontre ensuite que cette lettre peut être lue comme la synthèse d’une théorie et d’une pratique des rêves clés dans les premiers textes cortazariens, notamment à travers le personnage alter ego et récurrent de Gabriel Medrano, et qu’elle est l’avant-texte d’un rêve de ce personnage dans Los premios. La mise au jour de points de convergence et de passages parallèles entre la « lettre-essai » et ces premiers textes révèle que le complexe onirique cortazarien s’associe à un complexe de l’Autre, à travers les images de la main tendue et du double nocturne. Enfin, le désaccord qui oppose Cortázar à Caillois sur la question des rêves est replacé au sein d’une relation personnelle et professionnelle complexe et dans le contexte d’une opposition intellectuelle plus large autour des concepts de raison, de fantastique et de langage. On se demandera ainsi dans quelle mesure l’œuvre de Cortázar a pu se construire à l’épreuve du dissentiment qui l’opposa à Caillois sur ces différents sujets. / In 1957, Julio Cortázar wrote to Roger Caillois a letter still unpublished to date. He conducts a critical review of L’incertitude qui vient des rêves, an essay by Caillois published in 1956. The subject of this thesis is to contextualise the writing of this letter as well as the oneiric theory which is exposed by Cortázar in this letter. An initial analysis of this document, which can be defined as a “letter-essay”, is proposed by adopting a genetic and intertextual methodology, in order to give this letter its rightful place in Cortázar’s works. It is then demonstrated that this letter can be read as the synthesis of a theory and a practice of the key dreams in the first cortazarian texts, particularly through Gabriel Medrano's alter ego and recurrent character, and that it constitutes the “avant-texte” of a dream of this character in Los premios. The coming to light of areas of convergence and parallel passage between the “letter-essay” and these first texts reveals that the cortazarian oneiric complex echoes a complex of the Other through the figures of the helping hand and of the nocturnal alter. Finally, the disagreement between Cortázar and Caillois over the issue of dreams is placed within the context of a personal, professional and complex relationship, and of a larger intellectual opposition about the concepts of reason, fantastic and language. It will then be pondered to which extent Cortázar’s works was built in the test of the dissent between him and Caillois over these different issues.

Orientador: Pedro da Cunha Pinto Neto / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-23T20:41:48Z (GMT). No. of bitstreams: 1 Brasileiro_AlessandradeFalco_D.pdf: 5074176 bytes, checksum: 91fe7131c076123c1465399cfb8c4859 (MD5) Previous issue date: 2013 / Resumo: Este trabalho apresenta um estudo sobre diferentes dispositivos (revistas impressas, sites e tablets) de divulgação científica jornalística. Por meio do Estudo de Caso, a pesquisa mostra quais são os formatos, as formas e as ferramentas em uso pelas revistas especializadas: Superinteressante e Scientific American - versão original em inglês - para promover a circulação das ideias sobre Ciência. As divulgações citadas, como estudado por pesquisadores das áreas de Educação e Comunicação, podem ser utilizadas em leituras sobre Ciência por professores e alunos. Este estudo utiliza a linha desenvolvida por Roger Chartier, uma abordagem identificada como Nova História Cultural, que afirma que as práticas culturais modificam as formas de relação entre o leitor e o texto, em seus diversos dispositivos de leitura. Além da Análise Descritiva dos suportes de leitura, como complemento, também foram realizadas entrevistas com estudantes universitários de Ciência. As conexões entre a teoria e a análise demonstram a característica do hibridismo no tablet - que reúne recursos tanto da versão impressa, quanto para site - e apresentam um cenário de produção do Jornalismo Científico em dispositivos eletrônicos ainda em fase de desenvolvimento. / Abstract: This thesis presents a study of scientific journalism in different devices (printed magazines, sites and tablets). Through the Case Study, the research shows formats, shapes and tools in use by specialized magazines as Superinteressante and Scientific American - original version in english - to promote circulation of ideas about Science. These magazines, as studied by researchers of the areas of Education and Communication, can be used in reading practices on Science by teachers and students. This study is based on the theory developed by Roger Chartier, an approach identified as New Cultural History, which affirms that recent cultural practices modify forms of relationship between the reader and the text, in its various reading devices. Besides the descriptive analysis of reading devices, it also holds some interviews with students from Science areas over reading practice. The connections between theory and the analysis demonstrate the characteristic of hybridism in tablet - which gathers resources from both of the printed version and the website - and feature a production scenario of Scientific Journalism in electronic devices that is still in a development phase. / Doutorado / Ensino e Práticas Culturais / Doutora em Educação

L’étude vise à dresser l’histoire de la réception de la théorie de l’art de Roger de Piles (1635-1709) dans l’espace germanophone au XVIIIe siècle. Accédant rapidement au statut de canons de la littérature artistique, les écrits de De Piles sont accueillis différemment selon les foyers politiques et culturels, selon les systèmes de diffusion et selon les acteurs de leur réception. La traduction de théories de l’art venant de l’étranger s’avère être, tout au long du XVIIIe siècle, un facteur fondamental dans la construction des théories allemandes de l’art de peindre. Entre 1699 et 1776, quatre ouvrages de, ou attribués à, l’auteur français sont publiés en langue allemande d’abord à Berlin, Hambourg puis Leipzig, par le peintre Samuel Theodor Gericke (1665-1729) et les amateurs Paul Jacob Marperger (1656-1730) et Georg Heinrich Martini (1722-1794). Certains sont réédités plusieurs fois ou retraduits hors des frontières du Saint Empire romain germanique, par Johann Dauw (1679-1723) et Tobias Querfurt (actif de 1732 à 1792). La réception allemande de la théorie du coloris de De Piles s’opère majoritairement en associations avec d’autres auteurs (Sandrart, Félibien, Lairesse, Testelin). Le processus d’assimilation du vocabulaire fixé par De Piles illustre l’évolution générale de la réception allemande de sa théorie. L’imprégnation des concepts depilesiens oscille entre fidélité, détournement et acculturation, dans une époque marquée par une recherche de corrélation entre théorie, pratique et goût de la peinture. Finalement, la position coloriste teintée d’éclectisme esquissée par De Piles s’épanouit dans le syncrétisme théorique et pratique de sa réception allemande. / The study aims to draw the history of the reception of Roger de Piles’ (1635-1709) theory, in the German area during the 18th century. Rapidly considered as a benchmark of artistic literature, De Piles’ writings are received differently according to political and cultural contexts, to dissemination system and to players of their reception. The translation of art theories coming from abroad happens to be, throughout the whole 18th century, a crucial factor in the construction of German theories of painting. Between 1699 and 1776, four books of, or attributed to, the French author are published in German, first in Berlin and Hamburg, then in Leipzig, by the painter Samuel Theodor Gericke (1665-1729) and by the connoisseurs Paul Jacob Marperger (1656-1730) and Georg Heinrich Martini (1722-1794). Some are republished several times or retranslated outside the borders of the Holy Roman Empire of the German Nation by Johann Dauw (1679-1723) and Tobias Querfurt (working from 1732 to 1792). The German reception of Roger de Piles’ theory of colouring occurs mainly in association with others authors (Sandrart, Félibien, Lairesse, Testelin). The assimilation process of the vocabulary established by De Piles illustrates the general evolution of the German reception of his theory. The impregnation of de Piles’ concepts fluctuates between fidelity, embezzlement and acculturation, in a period marked by a search of correlation between theory, practice and taste for painting. Eventually, the colourist position tinged with eclecticism sketched by de Piles prospers in the theoretical and practical syncretism of his German reception.

[pt] Investiga-se, nessa dissertação, a escrita textual e imagética do autor e ilustrador Roger Mello, em busca de identificar e discutir as experimentações estéticas que mantêm vivos, em sua literatura, a palavra com sentido ampliado, a imagem que sugere novos olhares e o borramento das fronteiras entre o real e o imaginário e os tempos passado e presente. Para isso, foram selecionados cinco de seus mais de 100 livros publicados: Todo cuidado é pouco (1999), Meninos do Mangue (2001), Zubair e os labirintos (2007), Contradança (2011) e João por um fio (2012). Eles respondem, por amostragem, à pergunta que motivou essa pesquisa: como a literatura de Roger Mello amplia a experiência dos leitores com a linguagem verbo-visual, sugerindo novos afetos para crianças e jovens? Pela análise dos livros-ilustrados de Roger Mello realizada por essa dissertação, percebe-se que as artimanhas estéticas do autor tensionam a linguagem na busca de novas formas de narrar. Formas que deem conta, no contemporâneo, das múltiplas infâncias tratadas na obra do autor. Uma busca que aproxima as narrativas de Roger Mello do território da infância, um lugar movente em que as coisas do mundo não têm lugares e sentidos fixos, tampouco, uma temporalidade linear. / [en] This dissertation investigates the textual and imagistic writing of Brazilian author and illustrator Roger Mello. The work attempts to identify and discuss the forms of aesthetic experimentation which, in Mello s literature, capitalize on the slippery, ever-shifting meanings of words and images. It also examines how Mello s production blurs the boundaries between real and imaginary, past and present. To achieve such goals, the study turns to five of the author s more than 100 published works: Todo cuidado é pouco (You Can t Be Too Careful ) (1999), Meninos do Mangue (Mangrove Children) (2001), Zubair e os labirintos (Zubair and the Labyrinths) (2007), Contradança (Counter-dance) (2011) and João por um fio (João by a Thread) (2012). The corpus provides answers to the overarching question guiding this study, namely, how does Roger Mello s literature magnify readers experiences with verbal-visual language, suggesting new affects for children and young people? The analysis reveals that the author, in his search for contemporary forms of storytelling with which to narrate a range of different childhoods, artfully instills tension into language itself. The dissertation looks into the relationship between Roger Mello s narratives and the unsteady terrain of childhood, where things of the world are freed from rigid spatial, temporal and definitional meanings.

This Master's thesis deals with a critique of popular music by the British conservative philosopher Roger Scruton. It is based on a premise that this critique is not purely aesthetic, as it is deeply rooted in Scruton's conception of art, culture, and man. The first part of the thesis, therefore, deals with this broader context, and its outcome is an explanation of the reasons why Scruton rejects popular music as an integral part of popular culture. The second part of the thesis focuses on Scruton's philosophy of music, in other words, on questions of musical aesthetics: what the ontological status of music is, what the nature of its meaning is, what its value is, and what its 'ethical power' is. The third part is devoted to the critique of popular music itself: first, the concept of popular music is clarified, and then the outputs of the two previous chapters are linked to fully grasp Scruton's condemnation of popular music. In the end, the thesis points to problematic aspects of Scruton's theory: it questions the adequacy of applying the model of evaluating classical music to the case of popular music.

This thesis aims to explore theories in aesthetics and philosophy of criticism,in order to understand why disagreement occur in film evaluations and possible reasons. Subsequently, the relationship between subjective preferences and objective properties in film evaluations will also be explored. In the first section of the thesis, a theoretical foundation will be provided for context. Malick as a director will be introduced, together with theories regarding intention, value, objectivity, and aesthetics. In the second section, three film reviews with different ratings from three film critics will be analyzed, to distill the essence of film evaluations. This thesis will show that there is reason to believe that objective properties exist in film objectsand that there are ways to evaluate these properties. The results will also show that an evaluation has several components, and that it is possible to judge one evaluation to be more or less justified than another, based on the strength of this reasoning and inclusion of the different components.

O desbalanceamento de dados em experimentos está muitas vezes presente em diversas pesquisas nas mais variadas áreas do conhecimento. Embora existam muitas maneiras de análise de tais dados, além de diversos recursos computacionais já implementados em diversos softwares estatísticos, ainda perdura dúvidas entre os pesquisadores a respeito da opção de análise mais eficiente. A literatura fornece ao pesquisador direção na escolha da metodologia de análise a obter maior eficácia nos resultados de sua pesquisa, mas o número elevado de opções pode tornar a escolha difícil. Em se tratando de testes estatísticos, algumas das opções para se trabalhar com dados desbalanceados são os testes t e Wald-F, mas ainda resta ao pesquisador decidir entre as várias opções disponíveis nos pacotes, pois nem sempre as opções padrões são as mais indicadas. No presente trabalho foram realizadas simulações com diferentes cenários experimentais, utilizando-se o delineamento casualizado em blocos com um fator de tratamento em uma situação e o esquema de tratamentos em parcelas subdividas em outra, sendo comparados quatro métodos de cálculo do número aproximado de graus de liberdade (Containment, Residual, Satterthwaite e Kenward-Roger). Verificou-se que o método de Kenward-Roger controla de maneira mais eficiente a taxa de erro tipo I e não é inferior aos outros métodos com respeito ao poder do teste Wald-F. / The data imbalance in experiments is often present in several researches in various fields of knowledge. While there are many ways to analyze these data in addition to various computer resources already implemented in many statistical software, doubt still lingers among researchers about the most efficient analysis option. The literature provides the researcher direction in choosing the analysis methodology to get better in your search results, but the large number of options can make the difficult choice. When it comes to statistical tests, some of the options for working with unbalanced data are the tests t and Wald-F, but there is still the researcher to decide between the various options available in the packages because the defaults are not always the most suitable. This experiment was carried out simulations with different experimental scenarios, using the randomized block design with one factor in a situation treatment and treatment regimen subdivided parcels in another, and compared four methods of calculating the approximate number of degrees of freedom (Containment, Residual, Satterthwaite and Kenward-Roger). It has been found that the method of Kenward-Roger controls more efficiently the type I error rate and is not inferior to other methods with respect to the power of the test Wald-F.